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. 46 Sujata Iyengar, ‘Shakespeare in Heterolove’, Literature/Film Quarterly , 29: 2 (2001), pp. 122–7. 47 Iyengar, ‘Shakespeare in Heterolove’, p. 124. 48 Richard Burt, ‘ Shakespeare in Love and the End of the Shakespearean: Academic and Mass Culture Constructions of Literary Authorship’, in Mark Thornton Burnett and Ramona Wray (eds), Shakespeare, Film, Fin de Siècle (Basingstoke: Palgrave Macmillan, 2000), pp. 203–31. 49 Elizabeth Klett, ‘ Shakespeare in Love and the End(s) of
Shakespeare ; for more details, see J. Buchanan, Shakespeare on Silent Film: An Excellent Dumb Discourse (Cambridge: Cambridge University Press, 2009), esp. pp. 105–6; and J. Buchanan, ‘Introduction: Image, Story, Desire: The Writer on Film’, in J. Buchanan (ed.), The Writer on Film: Screening Literary Authorship (Basingstoke and New York: Palgrave Macmillan, 2013), pp. 3–32, esp. pp. 7–8. 2 Lanier, ‘Film Spin-Offs and Citations’ , p. 337. 3 Ibid . 4 Ibid ., pp. 269–70. 5 M. Murray-Pepper, ‘The “Tables of Memory”: Shakespeare, Cinema and the Writing